University  of  California  •  Berkeley 


Totems   of  Alaska 


Published  and  Copyrighted,  1909,  by 
WINTER  &   POND   COMPANY,  INC. 

Photo  Supplies 
Indian  Baskets  and  Curios 

JUNKAU,  ALASKA 


INTRODUCTORY. 

"  I  "HE  illustrations  contained  in  this  book  convey  a  good  idea  of  the  various  forms  of  Alaskan  totems  as  well  as  a  portrayal  of 

the  handicraft  of  the  Haidas  of  extreme  Southeastern  Alaska  and  the  Tlingits,  their  northern  neighbors,  among  whom 

the  practice  of  erecting  totems  has  been  prevalent. 

It  is  impossible  in  a  brief  treatise  to  give  an  accurate  interpretation  of  the  crude  heraldry  of  a  primitive  people  without 
making  a  study  of  individual  totems.  An  analysis  of  each  illustration  will  serve  to  enlighten  the  reader  as  to  the  general  signi 
ficance  of  totem  blazonry  as  expressed  in  the  carvings  and  other  designs  of  the  Haidas  and  Tlingits. 

Whatever  suggestion  of  idolatry  the  uncouth  and  barbarous  appearance  of  the  totems  may  convey  to  the  casual 
observer,  it  is  certain  that  such  a  practice  was  not  thought  of  by  the  Haidas.  The  innate  recognition  of  supernatural 
power,  which  is  common  to  all  savage  people,  was  not  centered  in  one  divine  being.  These  children  of  nature 
developed  a  veneration  for  birds  and  animals  to  which  they  ascribed  human  intelligence.  The  transmigratory  idea  finds  a  place 
in  the  vague  traditions  of  a  spiritual  power  for  good  or  for  evil  which  changed  the  forms  of  men  to  birds  or  to  animals  and  vice 
versa.  A  crude  ideality  led  to  the  association  of  each  family  with  some  form  of  animal  life,  the  recording  of  which  resulted  in  the 
rude  carvings  called  totem  poles.  As  nearly  as  can  be  determined,  the  original  purpose  in  erecting  totems  before  the  houses 
was  to  distinguish  each  group  of  families  having  the  same  crest.  Take,  for  example,  the  carving  in  the  foreground  of  the 
Howkan  village  illustration,  which  represents  an  eagle.  This  would  be  found  all  sufficient  to  indicate  the  house  of  the  eagle 
clan  and  would  be  the  home  of  all  those  having  the  eagle  as  the  crest  or  emblem  of  their  totemic  system,  whether  visitors  from 
other  tribes  or  permanent  dwellers. 


A3y 

X 


THE     H  AID  AS. 

THE  principal  villages  of  the  Haidas  are  those  of  Cape  Fox  and  Tongass  on  the  mainland,  Kassan  and  Klinquan  on 
Prince  of  Wales  Island  and  Howkan  on  Long  Island,  all  of  which  had,  until  recent  years,  numerous  totems  in  great 

variety  of  design. 

Intermarriage  was  common  between  the  Haidas  and  the  Tlingits,  and  the  same  general  system  prevailed  which  prevented 
the  marriage  of  near  relatives.  Throughout  Southeastern  Alaska,  all  families  having  the  same  emblem  are  deemed  to  be  of  blood 
relation.  Should  a  Tlingit  of  the  Raven  family  visit  the  Haidas  in  search  of  a  wife,  he  would  not  be  permitted  to  wed  one  of  the 
Raven  family  of  these  people.  Assuming  that  he  should  marry  one  of  the  Wolf  clan,  the  children  of  the  union  would  adopt  the 
crest  of  the  mother  and,  when  away  from  home,  would  seek  shelter  in  the  house  of  Wolf  totem,  if  their  wanderings  took  them  to 
the  villages  of  other  tribes. 

The  present  houses  are  nearly  all  of  modern  type,  many  sizes  smaller  than  the  massive  structures  of  former  years,  when 
they  where  built  of  heavy  timbers  hewn  out  of  giant  forest  trees.  Each  house  gave  shelter  to  numerous  families  of  the  same 
totem  and  they  were  necessarily  of  ample  proportions. 

GRAVE  totems  are  as  a  rule  erected  to  the  memory  of  some  individual  of  high  rank  and  represents  the  emblem  of  his  clan. 
Many  of  these  totems  have  receptacles  in  which,  after  cremation,  the  ashes  of  the  dead  are  deposited,  but  the  practice  of 
late  years  has  been  to  provide  burial  places  for  the  dead  at  some  distance  from  the  villages. 

What  is  commonly  called  the  "Whale"  totem  is  seen  in  the  illustration  of  grave  totems  and  will  also  be  noticed  in  many 
other  places.  All  such  figures  are  distinctive  in  the  exaggerated  size  of  the  dorsal  fin  and  display  of  formidable  teeth,  intended 
as  the  symbol  of  power.  The  portrayal  is  of  a  leviathan,  suggestive  of  the  whale,  but  investigation  proves  it  to  be  meant  for  the 
orca  or  grampus,  the  most  powerful  and  ferocious  of  all  cetaceans.  This  monster  of  the  deep  finds  an  important  place  in  the 
totem  designs  of  the  Haidas  and  Tlingits  and  is  the  emblem  of  many  high-class  families  of  both  tribes. 

THE  Tlingits  of  Alaska  are  few  in  number.  Their  homes  are  widely  scattered,  principally  among  the  islands  of  Southeastern 
Alaska,  though  many  have  settled  on  the  mainland  as  far  north  as  Yakutat.  While  not  a  united  people,  their  intertribal 

relations  are  well  established  and  the  boundaries  of  the  hunting  grounds  of  each  division  tacitly  understood.  Reference 
is  made  to  to  the  various  branches  or  tribal  unions  according  to  the  locality  of  their  settlements.  The  Stickine,  Taku,  Chilkoot, 
Chilkat  and  Yakutat  tribes  live  on  the  mainland  and  until  recent  years  controlled  the  fur  trade  with  the  interior  natives.  The 
Sitka,  Kake,  Auk  and  Hoonah  tribes  have  their  homes  and  hunting  grounds  among  the  islands  scattered  along  the  coast. 

Although  not  the  originators  of  totem  carvings,  the  Tlingits  have  shown  an  aptitude  equal  to  the  Haidas  both  in  execution 
and  interpretation  of  what  might  be  termed  the  hieroglyphics  of  the  North.  The  erection  of  massive  totem  poles  did  not  seem 
to  appeal  to  the  Tlingits  as  strongly  as  the  totem  designs  which  are  so  much  in  evidence  among  them.  Emblazoned  on  treasure 
chests,  wrought  in  articles  of  every  day  use,  painted  on  the  exteriors  and  interiors  of  houses,  woven  into  basketry  and  the  famous 
Chilkat  blanket  are  designs  showing  a  high  order  of  artistic  conception  and  execution. 

Excellent  carvings  in  wood,  stone,  metal,  bone  and  horn  can  be  purchased  from  the  Tlingits.  These  are  not  made  with 
any  idea  of  utility,  and  their  cost  is  very  low  in  comparison  with  the  skill  of  the  carver  and  the  time  given  to  the  work. 


rm     f-; 

*S!3|J  |, 

•wlf ' 


i  ±1  c,     sn/irs.jc.:>      IL^IHIVIO. 

THE  family  holding  highest  rank  among  the  southern  tribes  of  the  Tlingits  is  that  of  Chief  Shakes  of  the  Stickines.     Their 
totems  at  Wrangell  have  for  years  been  the  center  of  interest  to  tourists. 

The  bear,  called  "  Hootz  "  in  the  Tlingit  language,  is  the  most  powerful  animal  known  to  these  people.  In  the 
adoption  of  this  animal  as  their  totem,  the  family  of  Shakes  symbolize  courage,  strength  and  bravery  as  the  attributes  of  their 
ancestors.  Invincible  as  the  bear  is  in  the  animal  kingdom,  so  should  the  people  of  the  Shakes  household  be  in  their  tribe. 

The  domination  of  the  sea  is  also  claimed  as  a  prerogative  by  the  Shakes  family.  Side  by  side  with  the  bear  totem  is 
that  of  the  grampus,  known  as  "keet"  in  the  native  tongue.  Although  this  voracious  cetacean  is  of  the  whale  kind,  a  distinction 
is  made  necessary  as  the  traditions  of  the  natives  deal  with  the  predatory  nature  of  the  grampus. 

Many  years  ago  there  lived  among  the  Tlingits  a  man  of  wealth  and  high  rank,  named  Nah-tse-tla-neh.  On  one  of  his 
hunting  expeditions  in  search  of  sea  otter  he  was  overtaken  by  a  sudden  storm  when  far  out  upon  the  ocean.  As  the  blackness 
of  night  settled  over  the  seas  and  all  hope  of  reaching  a  haven  of  safety  was  lost,  despair  was  suddenly  turned  to  exultation. 
Out  of  the  phosphorescent  waves  a  huge  figure  shaped  like  a  man,  slowly  arose,  poised  for  a  moment  and  then  disappeared. 
Nah-tse-tla-neh  had  been  taught  that  he  who  gazed  upon  Gunah-kah-daht  in  time  of  trouble  should  find  relief.  Faith  in  the 
legends  of  his  forefathers  instinctively  taught  him  that  safety  and  good  fortune  were  before  him. 

Buffetted  for  hours  by  the  turbulent  waters,  the  canoe  was  finally  dashed  high  upon  a  rocky  shore.  At  daybreak  a  scant 
supply  of  food  and  other  equipment  of  the  hunters  was  saved  from  the  wreckage.  Exploration  proved  that  they  had  been  cast 
upon  a  small  densely  wooded  island  and  that  starvation  awaited  them  if  relief  did  not  come.  Nah-tse-tla-neh  dreamed  each  night 
that  his  salvation  depended  upon  his  ability  to  give  shape  to  an  unheard  of  creature,  so  fierce  in  appearance  that  when  placed  in 
the  sea  all  living  things  would  seek  the  shore  to  escape  being  preyed  upon.  Day  and  night  he  worked  with  his  stone  axe  until 
he  had  fashioned  eight  images  of  the  keet,  which  he  had  so  vividly  seen  in  his  dreams.  The  pangs  of  hunger  were  felt  for 
many  days,  but  faith  in  Gunah-kah-daht  gave  him  strength  to  continue  his  labors.  Each  day  the  seals  sported  in  the  waters, 
always  near  shore,  but  at  a  safe  distance  from  the  spears  of  the  starving  hunters. 

At  last  the  images  were  completed  and,  being  launched  into  the  sea,  disappeared  from  sight.  Anxiously  the  little  group 
gazed  out  upon  the  water  but  their  eyes  were  cast  in  the  wrong  direction.  Signs  of  life  appeared  along  the  shore  and  to  their 
amazement  the  seals  were  seen  clambering  over  the  rocks,  taking  no  heed  of  the  presence  of  human  beings  in  their  efforts  to 
escape  the  fierce  attack  of  a  new  enemy  from  the  ocean  depths. 

The  shore  was  lined  with  fish  as  the  tide  receded.  These  were  dried  in  the  sun  and  served  as  food  for  the  castaways. 
After  many  weeks  of  patient  labor  a  canoe  was  hewn  out  of  a  giant  cedar  log  and  Nah-tse-tla-neh  was  enabled  to  return  to  his 
home  and  friends.  To  this  day  when  the  huge  dorsal  fin  of  the  ferocious  keet  is  seen  cleaving  the  waters,  the  natives  look 
towards  the  shore,  for  the  seals  will  seek  shelter  among  the  rocks,  where  they  are  easily  dispatched  by  the  hunters. 

Toh-yot,  the  last  of  the  totem  carvers,  recorded  the  union  of  Kad-a-shan  and  Shakes  families  in  one  of  the  best  pieces  of 
totem  picture  to  be  found  in  Wrangell.  A  study  of  the  totems  of  these  two  families  is  all  that  is  required  to  gain  a  knowledge 
of  the  meaning  and  purpose  of  totem  poles. 

This  totem  was  erected  by  one  of  the  Shakes  chiefs  in  honor  of  his  wife,  a  daughter  of  Kad-a-shan.  The  principal  figures 
are  those  of  the  chief,  which  Toh-yot  represents  with  a  raven's  head,  the  sun-box  and  the  raven  and  child,  making  a  very  elab 
orate  representation  of  the  story  af  Nass-shikke-yahl.  At  the  base  of  the  totem  is  Gunah-kah-daht,  who  smiles  with  favor  on  the 
Shakes  family.  Above  this  figure  is  the  seagull,  the  recorder  of  tribal  history,  who  tells  of  the  wonderful  things  accomplished  by 
the  families  of  Kad-a-shan  and  Shakes. 


THE     KAD-A-SHAN     TOTEMS. 

THE  ancestors  of  Chief  Kad-a-shan  were  Haida  people  of  high  degree,  Through  intermarriage  with  the  Tlingits  their 
home  was  established  in  the  village  of  the  Stickines.  The  legendary  lore  of  the  Haidas  and  Tlingits  is  replete  with 

the  miracles  performed  by  birds  and  animals  having  human  intellect  as  well  as  the  power  of  assuming  human  shape. 

The  first  people  of  the  earth  lived  in  semi-darkness.  Phosphorescent  light  from  the  waters  and  artificial  light  from 
fires  was  the  extent  of  Nature's  favor.  Many  years  after  the  creation  of  man,  the  head  chief  of  the  Haidas  had  a  dream  in  which 
he  saw  the  coming  of  light  into  the  world.  When  the  great  white  bird  Yahl*  brought  from  the  skies  the  sun-box  which  contained 
the  sun,  the  moon  and  countless  stars,  the  land  would  be  ablaze  with  light,  for  the  chief  was  to  place  on  the  highest  mountains 
the  sun  and  moon  and  distribute  among  his  people  the  brilliant  stars,  each  of  which  was  the  size  of  a  tiny  pebble. 

The  chief  kept  secret  his  dream  and  resolved  that  should  it  be  realized  he  would  keep  the  sun-box  and  thus  add  to  his 
wealth  and  power.  In  course  of  time,  Yahl  came  from  the  skies  and  the  sun-box  was  placed  in  the  house  of  the  great  chief. 
So  carefully  was  it  guarded  that  the  contents  were  unknown  to  any  but  those  who  dwelt  with  him.  Yahl  hovered  over  the  house 
of  the  covetous  chief,  for  the  sun-box  must  be  recovered  and  light  given  to  the  world.  The  people  wondered  whether  the 
presence  of  the  geat  white  bird  presaged  good  or  evil. 

The  chief  had  but  one  child,  a  young  maiden.  When  she  went  from  home,  Yahl  was  sure  to  be  near  her,  seeking  her 
favor  so  that  he  might  gain  entrance  to  the  house.  Failing  in  this  he  watched  for  the  maiden  to  go  to  the  spring.  As  she  quenched 
her  thirst,  Yahl  changed  his  form  to  that  of  a  tiny  pebble  and  dropping  into  the  wooden  cup  was  swallowed  as  she  drank. 

Time  passed.  Humiliation  and  sorrow  hung  over  the  home  of  the  great  chief  for  a  child  had  been  born  to  his  daughter 
without  a  father  to  give  it  welcome.  The  disappearance  of  Yahl  caused  the  people  to  think  that  the  bird  had  brought  distress 
to  the  house  of  their  chief.  Shame  gave  way  under  the  gentle  influence  of  sympathy  and  love.  The  infant  developed  into  a 
bright  sturdy  boy  whose  happy  nature  brought  joy  into  the  household.  To  please  the  little  one  the  lid  of  the  treasure  box  was 
often  raised  and  the  rays  of  light  which  came  forth  caused  peals  of  laughter  which  sounded  like  the  songs  of  forest  birds. 

As  the  boy  grew  older  and  strong  enough  to  raise  the  lid,  he  took  from  the  box  the  tiny  brilliants  and  as  he  played  with 
them  the  house  rang  with  the  sound  of  his  merriment.  When  he  was  not  watched,  the  boy  would  toss  the  shining  gems  through 
the  smoke  hole  in  the  center  of  the  house,  and  they  would  rise  up  into  the  sky.  So  artful  was  he  that  the  loss  was  not  noticed 
by  the  chief,  but  the  people  marvelled  at  the  appearance  of  the  bright  stars  in  the  heavens. 

Time  went  swiftly,  and  the  chief  watched  with  pride  the  growth  and  wonderful  strength  developed  by  his  ward.  The 
boy  could  carry  the  box  on  his  shoulders,  or  toss  it  almost  to  the  roof.  The  chief  taught  him  that  he  was  to  be  the  guardian  of 
the  priceless  treasure  and  rested  secure  in  the  thought  that  it  was  well  protected. 

A  storm  swept  the  land  and  threatened  destruction  to  the  house  of  the  great  chief.  The  family  gathered  around  the  fire 
in  fear  and  trembling.  Suddenly  the  fierce  wind  tore  a  hole  in  the  roof  and  in  dumb  amazement  the  people  of  the  house  saw 
the  boy  seize  the  sun-box  and,  with  a  loud  cry  such  as  only  Yahl  could  make,  rise  through  the  opening,  at  the  same  time  taking 
the  form  of  a  great  white  bird.  So  Yahl  recovered  the  box,  and  the  sun,  the  moon  and  countless  stars  were  placed  in  the 
heavens,  far  from  the  reach  of  human  selfishness. 

At  the  base  of  the  totem  which  tells  the  story  of  the  raven  is  the  figure  of  an  eagle.  The  smaller  of  the  two  Kad-a-shan 
totems  might  be  called  a  continuation  of  the  family  history,  which  the  totem  represents.  Between  the  raven  and  the  eagle  a 
story  is  recorded.  The  escutcheons  below  the  eagle  indicate  wealth.  The  next  figure  is  that  of  a  chief,  which  is  always  indi 
cated  by  the  characteristic  hat.  The  chief  holds  a  shield  on  which  is  emblazoned  the  sign  of  wealth.  Below  this  is  the  head  of 
a  wolf,  a  smaller  branch  of  the  family.  Next  the  figures  of  a  sea-gull  and  frog  combine  to  make  a  story.  The  last  figure  is  that 
of  Gunah-kah-daht,  connecting  the  family  of  Kad-a-shan  with  that  of  Shakes. 

*The  raven  wa»  once  white  according  to  tradition. 


BURIAL     PLACES. 

UNTIL  recent  years,  cremation  of  the  dead,  especially  those  of  the  higher  classes,  was  practiced  by  the  Tlingits.     When 
the  funeral  pyre  was  reduced,  the  ashes  were  gathered,  and  together  with  the  personal  effects  of  the  deceased,  placed 
in  small  houses  built  for  that  purpose.     The  advance  of  civilization  has  caused  the  abandonment  of  former  customs 
which  have  almost  entirely  given  way  to  Christian  burial.     It  is  not  uncommon  to  see  marble  monuments  erected  over  the  graves 
of  the  Tlingit  dead.     An  occasional  combination  of  modern  and  primitive  ideas  will  be  found,   of  which  the  accompanying 
illustrations,  7  and  10,  are  fair  examples. 

The  grave  of  the  Tlingit  iktuh,  or  medicine  man,  is  isolated  from  that  of  his  tribesmen.  On  a  high  bluff  or  point  of  land 
overlooking  the  water,  a  boxlike  structure  of  logs  or  lumber  is  built,  being  elevated  a  few  feet  from  the  ground.  In  this  the 
body  is  interred  with  the  scant  attire,  images  and  other  ceremonial  effects  peculiar  to  his  craft.  The  canoe  of  the  deceased  is 
placed  at  the  base  of  the  rough  sepulcher.  On  the  front  of  this  structure  is  carved  or  more  frequently  painted  the  totem  of  his 
clan.  There  is  no  combination  of  figures  as  the  pride  of  the  Tlingit  iktuh  centers  in  his  individuality  rather  than  in  family  ties. 


THE     KAKE     TOTEMS 

THE  Kake  branch  of  the  Tlingits  have  a  very  unsavory  reputation  among  the  people  of  Alaska.     It  is  thought  that  many 
prospectors  and  hunters  have  met  with  foul  play  at  the  hands  of  the  Kake  tribe.     The  Tlingit  custom  throughout  Alaska 
has  been  to  take  the  life  of  one  or  two  white  men  to  even  the  score  when  a  native  is  killed.     As  several  as  the  Kake 
people  have  met  such  a  fate  during  the  past  twenty  years,  it  is  reasonable  to  suppose  that  the  old  custom  will  not  be  slighted. 

The  white  man  is  readily  recognized  in  the  topmost  figure  of  a  large  totem  erected  over  the  grave  of  his  Kake  victim. 
The  totem  reminds  the  members  of  the  Raven  clan  that  the  life  of  a  white  man  must  be  forfeited.  The  avenger  is  likened  to  a 
Raven,  and  the  halibut,  its  prey,  typifies  the  white  man. 

The  same  idea  is  suggested  by  the  totem  at  the  left  of  the  large  one.  in  which  the  aggressive  spirit  of  the  Raven  towards 
the  white  enemy  finds  expression. 


THE     KAHL-TEEN     TOTEM. 

r  T  ^HE  totem  erected  to  the  memory  of  Chief  Kahl-teen  is  the  most  recent  of  the  Wrangell  totems.     The  workmanship  is  of  a 
higher  order  than  that  of  the  older  carvings,  which  is  probably  due  to  the  fact  that  modern  tools  were  used  in  the  execu 
tion  of  the  work.     The  use  of  paint  artistically  applied  adds  to  the  attractive  appearance  of  the  totem. 
The  two  figures  called  Klone  represent  a  rock  in  the  Stickine  river  canyon  at  the  head  of  navigation.     This  is  the  limit 
of  the  territory  belonging  to  the  division  of  the  frog  clan  of  which  Kahl-teen  was  a  member.     Below  the  frog  is  a  figure  of  Ylihl, 
the  raven,  telling  the  story  of  Nass-shikke-yahl  to  the  younger  generations.     On  the  base  of  the  totem  is  the  beaver,  a  symbol  of 
thrift  and  energy,  from  which  the  frog  family  developed  the  strength  which  placed  them  in  the  foremost  ranks  of  their  people. 


i 

1 

I 


IMAGES. 

A  distinct  type  of  carvings  found  among  the  Tlingits  are  those  of  the  iktuh,  or  medicine-man,  perhaps  better  known  by  the 
Russian  name  of  shaman,  meaning  a  wizard  or  conjuror.  The  power  of  these  sorcerers  among  their  people  was  even 
greater  than  that  of  the  chiefs. 

Superstition  and  ignorance  yielded  readily  to  the  machinations  of  the  crafty  iktuh  so  that  he  was  enabled  to  exact  tribute 
from  those  accused  of  causing  sickness  by  means  of  witchcraft. 

Sickness  was  supposed  to  be  due  to  the  influence  of  evil  spirits  and  it  rested  with  the  iktuh  to  cope  with  them.  Loud 
incantations,  mysterious  mutterings  and  frequent  consultations  with  hideous  images  at  the  couch  of  the  sick  person  were  the 
methods  employed  to  rid  the  body  of  its  malady. 

The  people  of  Kluk-wan  look  with  superstitious  awe  in  the  direction  of  the  burial  place  of  the  iktuh  Shah  when  his  name 
is  mentioned.  In  a  cotton-wood  grove  overlooking  the  Chilkat  river,  below  the  village,  is  the  grave  of  the  most  renowned  of  all 
iktuhs.  Knee  deep  in  the  forest  leaves  stands  Gow-ge-a-deh  (the  man  with  the  drum)  with  arm  outstretched.  The  image,  called 
the  servant  of  Shah,  once  held  an  immense  drum,  which  was  beaten  continuously  during  the  ceremonies  attending  the  healing  of 
the  sick.  The  upright  image  standing  on  the  frog  symbolizes  the  good  influence  of  the  frog  family,  of  which  Shah  was  a  mem 
ber.  The  spirit  of  evil  is  represented  by  a  distorted  human  shape  in  which  all  the  ills  of  mankind  are  embodied.  With  the  aid 
of  the  good  spirits  and  the  practice  of  his  magic,  the  iktuh  is  supposed  to  transfer  the  ailment  of  the  sick  person  to  the  image  of 
the  demoniac  and  thus  to  effect  a  cure. 


SKSPPBI 

grn«v^.-...n     i  —  |  —  r^r^> — ^ 


GOO-TEEKHL. 

IN  the  house  of  the  frog  clan  at  Kluk-wan,  a  village  on  the  Chilkat  river,  are  two  very  old  and  well  preserved  images  known 
to  the  natives  as  Goo-teekhl  and  Gootz-hun.    On  either  side  of  the  doorway,  in  the  center  end  of  the  structure,  is  the  family 
totem.     Carved  in  bold  relief  out  of  immense  slabs  of  wood  are  the  frog  figures,  flanked  by  the  images,  which  for  many 
generations  have  been  reverenced  by  the  frog  family. 

Traditions  tell  of  a  giant  cannibal  called  Goo-teekhl,  whose  ravages  had  for  years  been  the  terror  of  the  Chilkat  people. 
Of  such  gigantic  proportions  was  he  that  arrows  and  spears  were  of  no  protection  against  his  onslaughts.  The  frequency  of  his 
visits  threatened  to  exterminate  the  Chilkats  unless  some  means  were  devised  by  which  he  could  be  put  to  death.  Through  the 
ingenuity  of  the  frog  family  a  pitfall  was  arranged  into  which  he  was  lured.  The  warriors  were  in  readiness  to  take  advantage  of 
the  fallen  giant  and  he  was  quickly  enveloped  in  an  immense  net  made  of  animal  sinews.  In  his  frantic  efforts  to  free  himself, 
the  monster  became  so  entangled  in  the  meshes  that  he  was  rendered  powerless.  Brush  and  dry  wood  were  heaped  high  upon 
the  prostrate  body  and  ignited.  For  days  fuel  was  added  to  the  flames  until  not  a  vestige  of  Goo-teekhl  remained.  The  wind 
scattered  ashes  from  the  pyre  far  and  wide  over  the  country.  Each  tiny  particle  soon  developed  life  in  the  form  of  a  mosquito. 
The  blood-thirsty  tendency  of  this  voracious  insect  is  attributed  to  the  fact  that  life  was  not  extinct  when  the  giant  cannibal  was 
burned.  While  the  fire  destroyed  the  human  shape  of  Goo-teekhl,  life  was  disseminated  in  the  ashes  and  was  the  cause  of 
bringing  mosquitos  into  existence.  The  thirst  for  blood  was  thus  transmitted  to  the  mosquito  and  the  spirit  of  Goo-teekhl  being 
freed  from  evil  influence  of  such  nature  found  embodiment  in  the  image  so  carefully  guarded  by  the  frog  family. 

Fortune  smiles  on  those  who  dream  of  Goo-teekhl,  therefore  favor  is  sought  by  the  people  of  the  clan  who  dwell  within 
the  house,  by  providing  daily  food  for  the  image.  Fish  oil  is  poured  upon  the  lips  and  flows  over  the  body.  While  not  adding 
to  the  appearance  of  the  figure,  it  has  had  the  effect  of  preserving  the  wood.  Perhaps  some  day  the  people  of  the  frog  clan  may 
be  induced  to  part  with  Goo-teekhl  in  the  interests  of  ethnology. 

The  totem  at  the  left  of  the  illustration  is  a  splendid  exemplification  of  the  story  of  Goo-teekhl.  To  those  familiar  with 
the  tradition,  interpretation  will  not  seem  difficult.  The  frogs  in  the  arms  of  the  cannibal  and  the  mosquito  attacking  the  frog 
are  represented  in  this  carving. 


THE     CHI  LKATS. 

THE  warlike  spirit  of  the  Chilkats  caused  them  to  encroach  upon  the  rights  of  other  Tlingit  tribes.     Tribute  was  paid  to  the 
marauders  as  a  guarantee  of  peace.     They   were  wont  to  extend  their  depredations  as  far  as  the  land  of  the  Haidas, 
gathering  on  their  raids  valuable  trophies.    On  one  occasion  they  swooped  down  upon  the  house  of  a  Haida  chief  while  a 
feast  was  in  progress.     Among  the  prizes  taken  at  that  time  was  a  leathern  apron   (seen  in  illustration  3)  worn  by  the  chief 
as  an  emblem  of  his  rank.     The  design  of  the  trophy  appealed  strongly  to  the  fancy  of  the  Chilkat  people.     As  the  women  of 
the  tribe  sought  to  reproduce  it,  they  developed  a  proficiency  in  the  art  of  weaving  which  led  to  the  production  of  the  novr 
famous  Chilkat  blanket      In  the  house  of  the  chief  the  carvers  made  an  immense  pattern  from  which  various  combinations  of 
totem  designs  were  selected  by  the  weavers  who  assembled  there.     The  chief  held  aloof  from  the  members  of  his  household  but 
day  and  night  watched  the  progress  of  the  work  from  his  apartment  behind  the  totems. 


THE    CHILKAT     BLANKET. 

AS  the  fame  of  the  Chilkat  blanket  spread  among  the  natives  of  Southeastern  Alaska,  traders  from  the  various  tribes  flocked 
to  the  land  of  the  Chilkats  to  offer  valuable  furs  in  exchange  for  the  products  of  the  weaver.    An  industry  was  developed 
that  brought  wealth  and  prosperity  to  the  people  of  this  region.     The  hunters  of  the  tribe  were  diligent  in  the  pursuit  of 
the  mountain  goat  to  procure  the  necessary  wool  for  the  manufacture  of  the  blankets.     Friendly  relations  were  restored  with 
other  tribes  and  the  Chilkats  and  Haidas  met  again  under  peaceful  auspices.     To-day  the  Chilkat  blanket  is  more  frequently 
seen  among  the  Haidas  than  among  any  of  the  Tlingit  tribes. 

The  art  of  the  weaver  was  not  confined  to  the  weaving  of  blankets  alone,  as  many  ceremonial  robes  are  treasured  by  the 
natives,  each  distinctive  in  the  character  of  its  totemic  design. 


CONCLUSION. 

'""F'HE  twentieth  century  native  of  Southeastern  Alaska  is  totally  indifferent  to  the  traditions  of  his  fathers.  The  village  totems 
crumble  and  fall,  and  to  him  have  no  greater  value  than  to  provide  kindling  for  his  fire.  Those  of  his  white  brethren  who 
wander  from  the  centers  of  civilization  to  gaze  on  his  once  picturesque  abode,  find  it  shorn  of  the  rude  symbols  of  his  ancestors. 
On  entering  Howkan  village  we  see  on  every  side  evidences  of  the  white  man's  influence.  The  broad  sidewalk,  flanked  on  either 
side  with  unpretentious  cottages,  the  government  school  house,  from  which  comes  forth  strains  of  our  national  airs,  blending  with 
the  music  of  the  phonograph  which  more  than  a  few  homes  possess.  And  the  people — well  dressed,  intelligent,  industrious. 
Such  is  Howkan  of  the  present  day,  the  one  time  typical  village  of  the  Haidas. 

While  there  are  many  villages  scattered  through  Southeastern  Alaska  that  will  for  years  be  of  interest  to  those  who  may 
be  privileged  to  visit  them,  the  great  majority  of  sight  seers  will  have  to  content  themselves  with  glimpses  of  totems,  seen  at 
various  points  on  the  steamship  routes. 

The  Wrangell  and  other  totems  described  herein  may  be  of  greater  interest  at  the  present  time,  but  the  splendid  speci 
mens  of  the  totem  carvers'  art  standing  in  the  national  Indian  River  reservation  at  Sitka,  will  perhaps  be  the  last  evidence  of  the 
aboriginal  method  of  recording  history,  and  will  long  prove  an  attraction  to  students  of  ethnology,  despite  the  fact  that  they  are 
far  removed  from  the  land  of  the  Haidas,  where  they  were  originally  erected. 


